Large quantities of type can be daunting if designers do not take responsibility for breaking information down into different levels and groupings. This exercise gives you the opportunity to explore various ways of providing the reader with at least three levels through which to access information: initial headline copy to take in at a glance, a second level that elaborates to some degree but can still be absorbed fairly quickly, and a third level that fills in details.

Unfortunately, the middle layer is frequently omitted or underplayed. This exercise encourages the handling of this “middle” section so that it not only leads the submissive reader through the text in a set order, but also holds the attention of more resistant viewers, and keeps drawing them back in. Working with the same text each time, produce a broad range of alternative, double-page layouts that include at least three levels of information. Priorities do not need to change, although they can, but the ways in which these priorities are achieved must show variety.

The example below shows the use of comparatively simple design devices to encourage the viewer to continue on through all of the copy. Bold headlines attract attention initially, then the bold, exdented start of each paragraph, together with small sections made bold for emphasis, draw the viewer through the text.

The second illustration uses white type on black boxes to create a strong second level. Gray highlighting, imitating the use of a highlighter pen, emphasizes random areas and entices the reader back into the bulk of text repeatedly. Compositionally, the black boxes lead in from the left, down to the base of the layout, and finally off to the right, persuading the reader to absorb all the text “en route.”

The third illustration introduces typographic variations that make the middle levels of information quite challenging for readers. Close leading, changes of orientation, reversals of white through gray, and black on gray create a more interactive environment that tempts the viewer to delve deeper.

In each layout, white space, paragraph and line spacing, and gutter widths are all used to determine the paces and rhythms that help to maintain the reader’s attention.

CLIENT: CAPITOL RECORDS DESIGN: STEFAN G. BUCHER TYPOGRAPHY: STEFAN G. BUCHER ART DIRECTION: MARY FAGOT, STEFAN G. BUCHER

A limited color palette and an almost entirely typographic layout typify Stefan G. Bucher’s design for the CD cover of Borialis’ What You Thought You Heard. Headings and sections of text are given prominence through bold, all cap, sans-serif letterforms, with many anchored to the bottom of the page, or running into the abstract, colored shapes that are used as illustration. Quantities of type make clever use of indented and exdented copy that repeatedly attracts the reader to where the layout changes, and encourages their continued attention through to the end.

CLIENT: BATTERY PARK CITY PARKS CONSERVANCYS DESIGN: L. RICHARD POULIN, DOUGLAS MORRIS TYPOGRAPHY: L. RICHARD POULIN, DOUGLAS MORRIS COPYWRITING: BATTERY PARK CITY PARKS CONSERVANCYS PHOTOGRAPHY: VARIOUS

Lilac, lime-green, and orange form an unexpected color palette for this City Parks Conservancy Calendar by Poulin + Morris. The recipient is drawn primarily to the almost electric contrast between lilac and orange, then on to the decorative display face that is used for section headings. Most smaller text—in black, and layered on top of colored backgrounds—is seen later.

CLIENT: JOHNSON BANKS DESIGN: MICHAEL JOHNSON TYPOGRAPHY: MICHAEL JOHNSON ART DIRECTION: MICHAEL JOHNSON

Conveying the message that simple is best was Michael Johnson’s aim with this complex design. Statements built up through graduated, overlapping, colored letters of varying size form the substance of this poster. Even after trying at some length to read the complex message, the reader cannot help but be drawn to the white, “simple” and “best” along the bottom line.

CLIENT: YORKSHIRE FORWARD DESIGN: ANDREW LODGE, ADAM RIX TYPOGRAPHY: ANDREW LODGE, ADAM RIX PHOTOGRAPHY: JOHN ANGERSON, MICHAEL FEATHER ART DIRECTION: LEE BRADLEY

Creating a business magazine style with different levels of information was important to Lee Bradley in putting together this design for Yorkshire Forward. “Uppercase typography is used to highlight and draw the reader’s attention first,” says Lee. “Key facts are formatted within black information boxes, and large orange-and-white folios also draw attention,” he concludes. Color is vital to this design, with silver being used as an effective, eye-catching background for many pages.